Mr Brubakers Strawberry Alarm Clock is the second studio album by British electronic artist Riz Maslen under her pseudonym Neotropic, released in 1998 on Ntone.

[3] After suffering several personal issues in her life, Maslen conceived her second album under the moniker, Mr Brubakers Strawberry Alarm Clock, as a means to vent her frustrations musically.

"[6] The album is noted for being very textured,[7] containing unique beats and "a thick pulse,"[7] and although the record is beat-based and incorporates many samples, it also exhibits what Randall Roberts of CMJ New Music Monthly describes as "an obvious attention to the miniature, the patience to examine them, and the desire to communicate the unspeakable with pinpoint accuracy.

[5] Louise Grey of The Independent, meanwhile, called the album "a deft work, combining a real feeling for sonic depth and texture with compositional nous.

"[8] "The cover and title of the Strawberry Alarm Clock album are appropriate: Riz Maslen’s electronic music sounds distinctly clockwork-mechanical but also has a pleasure-centred succulence."

[10] "Vent", which features guitar from Gary Lucas, begins with a sample of a young girl singing "Lizzie Borden took an axe, gave her husband 40 whacks," and is said to be one of several Neotropic compositions which flash a "cannily female sensibility".

[10] Will Hermes of Spin felt that the tracks's "Glock-cocking percussion" evokes "Robert de Niro's battle-dressing scene from Taxi Driver as reimagined by Lara Croft.

[11] Taking his creation into his flat's back garden on a sunny day, he sprayed the strawberry in order to make the fruit appear fresh, and Nancy Brown then photographed this for the front cover.

[11] Mr Brubakers Strawberry Alarm Clock was released on 19 October 1998 by Ntone,[12] Ninja Tune's sister label which focused on experimental electronic music.

[16] In a contemporary review of the album, Keith Farley of AllMusic rated it three stars out of five and felt that "Maslen's way with beats and effects" had not suffered during the producer's absence.

"[5] Randall Roberts of CMJ New Music Monthly said the album was "one of the most interesting, and beautiful, beat-based records of the year," praising Maslen's attention to detail and "perfect, unique beats.